Man of the Month: Jacob Benjamin Gyllenhaal.

The name's Darko. Donnie Darko. The 2001 cult classic about an introverted boy just on the surface of time traveling, and because he's just your average, restless, high school boy, 28 days, 6 hours, 42 minutes, and 12 seconds until the 'world will end' was in one ear and out the other. The Donnie Darko saga was first, a sleeper success, then picked up its pace as though its days were numbered. The $7M worldwide yet cult phenomenon has shown a dramatic turnover that all its simplicities and complexities were at a significant period of time obsessed by, including the hypnotic, seductive, devil horns-silhouette performance of 21-year old then Jake Gyllenhaal.

One could argue that's the beginning of the end of Gyllenhaal's grapple for future film roles; they were lined up for him because his momma had told him to strike when the iron's still hot. Yes, he was here, he was there, all but comme ci comme ça, until the world literally ended, as though Frank the Rabbit was off only by three years, in The Day After Tomorrow (2004). Remember? While the entire New York froze over by a hurricane-like super storm, Gyllenhaal and the gallantry of his character in the middle of it all is like a cone of soft serve ice cream coated in hot chocolate (he's the hot chocolate). A precocious college student whose innocent arrogance of not showing solutions on his math test because he did all the solving in his head, later frustrate us to learn the world is going to end, and this boy, confined mostly within the walls of a classroom, could possibly lack the skills to survive, but we're rooting for him because, besides being one of the lead, if you're going to be that boring and predictable, he must have learned a thing or two from his paleoclimatologist father (Dennis Quiad). Among other scenes we love of Gyllenhaal and about his character, the blanket scene warmed, even melted us at an otherwise freezing place.

"I'm using my body heat to warm you."

After which, Gyllenhaal has seen himself mounting on a high horse, literally too with the late Heath Ledger, for the Academy Award-winning film Brokeback Mountain (2006). Moved the world for its portrayal of masculine gay romance, two cowboys, minimal, powerful - as opposed to gratuitous - sex scenes, not only supporting gay rights, but most pivotal, toning down the loudness of the stereotype.

"I wish I knew how to quit you."

Zodiac (2007), Rendition (2007), Brothers (2009), Source Code (2012) - it's like looking at a resume and seeing solid work experience. And only recently, the dangerously dedicated 30-pound weight loss to a weighted performance and consuming story of Dan Gilroy in Nightcrawler (2014). It was a performance so palpably riveting, Gyllenhaal's disappearance at the 2015 Academy Awards, while kudos to Eddie Redmayne of The Theory of Everything, had made Russovoir want to punch someone. But he's not into violence, so we're just going to let that slide, and cross our fingers for Southpaw.

Russovoir gives credit to where it is due. One of which, one especially gives batting of the eyes of disbelief and awe, is the (drastic) physical immersion for the role. Russovoir believes that when an actor goes out of their comfort zone to satisfy the existent or nonexistent caveat of a role, losing weight, gaining weight, mimicry of accent, gait, overall attitudes and eccentricities, besides classified as method acting, it is the single, solid proof of effective acting. Gyllenhaal isn't the only one; there are obviously many, and they have been duly celebrated: Christian Bale, Matthew McConaughey, Jared Leto, Eddie Redmayne, Meryl Streep (Iron Lady, 2011), Anne Hathaway (Les Miserables, 2012), to name a few.

Southpaw draws our attention to the bone because it seems only recently Nightcrawler came out, and he was scraped off of fat. Six months later, we see this ripped and resilient Gyllenhaal in a boxing ring, rambunctious, rancorous, radiant. This shouldn't surprise Russovoir anymore, as there is already a method to the madness, but it always does; it makes Russovoir happy that amid the reboots, remakes, sequels, and for a lack of a better word, gross films this year, there is/are film(s) that stand(s) out, keeping the film industry almost, again, sidereal: even stars have to burn to shine.

Russovoir is as excited as the next person for the storyline of Southpaw; it looks bad ass. While Christian Bale balled our eyes in The Fighter (2010). But to be completely honest, Russovoir just wants to see Gyllenhaal on the screen again, this time, 'put together' - little less Prince of Persia (2010), little more End of Watch (2012).

Southpaw, July 24

  

The June Line Up: What Should Have You Watched.

It isn't a surprise that the month of June hasn't had a solid collection of films; primarily because it's when summer is here and corporate film houses know everybody is rather most likely on the interstate, driving to their own opinion is home: a summer house, the beach, or the forest, hiking, anywhere that doesn't shackle them in the pseudo-claustrophobic darkness and bolted seats.

So it has become Russovoir's duty, although while it's less of the sense of a 'duty', and more of a public service, to give you, my loyal reader, a breakdown of this month's best, must-watch films, regardless and despite wherever you have been this summer. There are 6, like the order in which June is in the Gregorian calendar.

6. It's Already Tomorrow In Hong Kong

Official entry to the LA Film Festival, real life couple Bryan Greenberg and Jamie Chung caused a 2.14 earthquake in the movie house. Josh is a struggling novelist, and stuck instead in banking. Ruby is a struggling fashion designer, contented instead to be a toy designer. They aren't exactly Romeo + Juliet, since their families aren't in dispute; nor they are figures of cookie cutter Disney characters. No prince. No princess. Neither has a castle. They share a cab through the nightlife streets of Hong Kong - how's that for a white horse? Based on personal experience by director Emily Ting,  our hearts have never been played since 50 Days of Summer (2009).

5. Love At First Fight (Les Combattants)

Official entry to the Cannes Film Festival, so far no French film has disappointed Russovoir. Including the feminiche love story of Madeleine and Arnaud. Tacky as it may sound with its obvious use of cliche, there is a reason why France is among the most romantic countries in the world, French as the language of love. The most impressive irony of all is that although while France holds this title, you'd think they'd reuse and recycle attributed themes. No. They are constantly interesting story-wise, fresh cast-wise.

It's that time again, the French military is looking for brave men to sign up for training. Madeleine trained all summer for this day to come; she's solid, patient, dangerous, like an avalanche no one sees coming. She might be so, but Arnaud, the hesitant carpenter, what at first looks grazing against concrete walls, typical boot camp procedure, later reveals the knocking down of walls, exploring uncharted, resilient bodies - the taming of the lioness.

4. Dope

To be honest, after a rather displeasing experience with Dear White People (2014), Russovoir cannot take anymore satire about black people. What's worse than black people perpetually portrayed as slaves is black people portrayed as drug smugglers. The title speaks for itself. It is a film about drugs, body, behavior, and beckoning.

Winner of Best Editing at the 2015 Sundance Film Festival, for which Dope sustains an audience; storytelling as though filling gaps within a real-time timeline. The quality of the coming-of-age blaxploitation is lined up in the final two scenes, as if taken through the nose because the potency of its message went straight to the brain. Clever and well-researched - an eargasm of 90's hip hop - and finally, breaking stereotypes, the character of Malcolm, a typical high school geek, is not defined where he came from, but where he is going.

3. Infinitely Polar Bear

Mark Ruffalo is sexier than ever, and he doesn't even have to rip through his clothes. This is a heartwarming story of a man diagnosed with manic depression at an unfortunate time where doctors don't know what to do with it - everybody's a little depressed anyway. Directorial debut of Maya Forbes, this film hit close to home because this is in fact an autobiographical film. Forbes reportedly had kept the authenticity of the memory and still told it beautifully.

Russovoir concludes with a single line with which its weight lowered to one's reach (and get a hold of a copy): Happy Father's Day!

  

2. Me and Earl and the Dying Girl

Sensationalizing cancer is so The Fault In Our Stars (2014). Russovoir cannot take anymore a love story which someone dies from a terminal sickness. We get it, it sucks for both of them, not going to be together because her chemotherapy is tomorrow, and schedules overlap. Sympathy is so easy here, like all the slave films, or the holocaust documentaries. Easy becomes hackneyed, thus it had been difficult to sit through a predictable film, literally A Walk To Remember. 

But in hindsight, there is a quality in Me and Earl and the Dying Girl - can the title go any longer? - that captures the audience - thank you Professor Morgan Sandler. It's what we call in story writing Character's Arc, defined as the transformation of the character over the course of the story. Lead actor Thomas Mann is as refreshing an indie actor as the identity or non-identity differentiated, that when Leukemia-stricken, 'dying girl' Rachel (Olivia Cooke) came to the picture, it becomes clear that what we're witnessing is not a love story per se (though it's entertained), but the extent of friendship.

1. Escobar: Paradise Lost (Movie of the Month - personally)

Let's talk about Josh Hutcherson. The boy is good, where can you go wrong? That being said, he is the singular, most inviting reason why Russovoir cancelled whatever he has planned on that night, and go read up about the film; regardless, he'll still sit through the whole thing. After which, Russovoir has found a film akin to Argo (2012).

Hutcherson has never looked good post-Hunger Games, while Russovoir could see traces of Peeta Mellark in his character, a Canadian surfer venturing in Colombia, whose involvement with a beguile Colombian, Maria (Claudia Traisac) forces himself to kill, but he's not that kind of person - Peeta Mellark! - and so we root for him because he's the good guy. The 22-year old, square-jawed pawn to a dangerous game of chase is Josh Hutcherson's most dramatic performance yet!

"Get out of the car! Now!"

Historical Fact: Pablo Escobar was the notorious and nefarious Colombian drug lord in 1970's. He was responsible for 80% of cocaine imports in the US, over 2,000 innocent lives were silenced.